if eight minutes of Christopher Young's usual dose of harmonic suspense material of solemn
beauty, this time in the form of eerily layered female vocals, merits the exploration of the
entire score.

Avoid it...

if you have difficulty appreciating Young's accomplished horror writing despite its
intelligence, because The Uninvited is dominated by highly troubled vocal atmosphere with
smart constructs that are extremely hard to casually enjoy.

if you appreciate even Jerry Goldsmith's most challenging, atmospheric, and grueling listening
experiences, an adequate but not spectacular accompaniment to a far better film than most
recall.

Avoid it...

if you expect the score on its own to be as entertaining as the film, for Goldsmith answers
the plot's suspense with extremely harsh tones in the lowest registers and troubled, ambiguous
themes that only develop into a tonal payoff for one great finale cue.

on the comprehensive 2007 set with all four of Bill Conti's scores for the popular franchise
if you are a devoted enthusiast of either the films or Conti's distinctive blend of symphonic
and contemporary tones typical to the era.

Avoid it...

if you expect the ethnic influence on these scores to shake the stylistic habits and
overarching tone that equally define the composer's Rocky scores as dated and repetitious.

if you appreciated John Ottman's heavy metal and grungy industrial score in the context of the
equally abrasive revenge flick, emulating the style of Marco Beltrami in similar situations of
stylish schlock.

Avoid it...

if you expect to hear the complexity of layers and instrumental subtlety that you usually
encounter in Ottman's lower budget scores, replaced here by generally straight forward
smash-mouth attitude and only occasional contemplative interludes of smooth harmony.

if you have already established an affinity for Star Trek II: The Wrath of Khan and seek a
thematically faithful extension of that sound with a little more instrumental spice,
primordial hysteria, and exotic mysticism.

if you value James Newton Howard's accomplished melodramatic fantasy sound, one that addresses
both the solitude and monumental sense of loss with orchestral and choral beauty in this
score.

Avoid it...

if you desire no surprises after hearing what little music was actually emphasized in the
film, for the majority of compelling material that Howard wrote for the project (including its
alternate ending) will be heard for the first time on the album release.

if you never grow tired of Hans Zimmer's predictable action and drama scoring methods of the
2000's, for The Dark Knight is, despite the composer's unusual handling of the Joker,
extremely consistent with his previous works.

Avoid it...

if you already own the album for Batman Begins and haven't listened to it for a year or two,
especially in the case of the sequel score's ridiculously priced and underachieving 2-CD
special edition.